Anna Kuchta, Joanna Malita-Król Here Comes the Trickster? Albus Dumbledore as the Trickster Figure in the Harry Potter Series Among the works of popular culture published in the last decades, only a few can compete with the popularity of the Harry Potter series. The fantasy novels published by Joanne Kathleen Rowling between 1997 and 2007, accompanied by film adaptations (eight films released between 2001–2011 by Warner Bros1), corresponding video games (produced by Electronic Arts), Harry Potter-themed toys, clothes, and even tourist at- tractions2 have piqued fans’ interest almost all over the globe and are a worth studying cultural and social phenomenon. Thus, it is not surprising that along with fandom affection, the Harry Potter series gained the interest of scholars and researchers from various disciplines. Rowling’s fantasy novels were studied numerous times from the perspective of literary theory3, anthropology4, sociology5, pedagogy6, gender studies7, 1 Four directors worked on the series: Chris Columbus (Harry Potter and the Philosopher’s Stone, Harry Potter and the Chamber of Secrets), Alfonso Cuarón (Harry Potter and the Prisoner of Azkaban), Mike Newell (Harry Potter and the Goblet of Fire), and David Yates (Harry Potter and the Order of the Phoe- nix, Harry Potter and the Half-Blood Prince, Harry Potter and the Deathly Hallows – Part 1, Harry Potter and the Deathly Hallows – Part 2). Details about each adaptation are listed in filmography in the end of the article. 2 E. g. The Wizarding World of Harry Potter at Universal Orlando Resort in Florida. 3 D. L. Wallace, T. Pugh, Teaching English in the World: Playing with Critical Theory in J. K. Rowling’s Harry Potter Series, “The English Journal” 2007, Vol. 96, No. 3 (Jan.), pp. 97–100. 4 N. Wandinger, “Sacrifice” in the Harry Potter Series from a Girardian Perspective, “Contagion: Journal of Violence, Mimesis, and Culture” 2010, Vol. 17, pp. 27–51. 5 D. H. Nexon, I. B. Neumann, Harry Potter and International Relations, Lanham 2006. 6 M. M. Wagner and A. Lachance, Mathematical Adventures with Harry Potter, “Teaching Children Mathematics” 2004, Vol. 10, No. 5 (Jan.), pp. 274–277; S. Deets, Wizarding in the Classroom: Teaching Harry Potter and Politics, “PS: Political Science and Politics” 2009, Vol. 42, No. 4 (Oct.), pp. 741–744. 7 M. Cherland, Harry’s Girls: Harry Potter and the Discourse of Gender, “Journal of Adolescent & Adult Literacy” 2008/2009, Vol. 52, No. 4 (Dec., 2008–Jan., 2009), pp. 273–282. 23 Anna Kuchta, Joanna Malita-Król and even linguistics8. However, despite the abundance of studies and a vast variety of approaches, there are still plenty of unanswered questions and fields that remain enigmatic and mysterious. In the following article we aim to analyze the character of Albus Dumbledore, one of the protagonists of the series, as a trickster figure. Knowing that J. K. Row- ling often refers to mythology, uses archetypes, and relies on symbolisms, it is worth studying whether the figure of trickster is present in her novels. We neither aim nor expect to prove that Dumbledore possesses all the features of an ideal trickster figu- re (as described in the next part of the article), yet his behavior and characteristics show that analysis in this perspective may give a new insight on the character, and in consequence lead to a better understanding of the Harry Potter series. Rowling’s novels will serve as a primary source material, while film adaptations are necessary to enrich the analysis and compare selected scenes9. The novels will be analyzed in a chronological order, to reveal possible changes and the development of the charac- ter. The analysis will focus mostly on Dumbledore’s relationship with Harry Potter, main protagonist and title character of the series. Along with this research material, Rowling’s statements regarding the novels and the characters she created will serve as an additional context which will allow a more diverse insight. The Trickster Mythology Trickster figures appear quite frequently in myths of different cultures, and may take a variety of forms. In many cases tricksters are associated with animal categories10, however it should be pointed out that “very often the trickster label is given to any fic- tional character that is seen to be clever, deceitful, and selfish”11, while of course these features may be present in different proportions for different trickster figures12. For 8 A. Klęczar, Harry Potter, a Latin Speaker?, “Biuletyn Glottodydaktyczny”, No. 7, 2003, p. 77–89. 9 Certain scenes are shown differently in the film adaptations than in the novels (the scene from Harry Potter and the Goblet of Fire when Harry is chosen for Triwizard Tournament, further described on page 7 of the following article, is a good example). We aim to analyse such differences and strive to explain their origin and their impact on of Dumbledore and Harry’s relationship. 10 A detailed report on animal categories trickster figures may be associated with can be found in the study Lévi-Strauss, Freud, and the Trickster: A New Perspective upon an Old Problem written by Michael P. Carroll. Cf. M. P. Carroll, Lévi-Strauss, Freud, and the Trickster: A New Perspective upon an Old Problem, American Ethnologist, Vol. 8, No. 2 (May, 1981), pp. 301–313. 11 Ibidem, p. 305. 12 Cristiano Grottanelli addresses the possible troubles with defining trickster figures and mentions concernsabout the usage of the term “trickster” raised by some scholars: “a series of very different and extremely complex figures of various mythologies have been unduly thrown together to form a hybrid, a monstrous abstraction”. Ch. Grottanelli, Tricksters, Scape-Goats, Champions, Saviors, “History of Religions” 1983, Vol. 23, No. 2 (Nov.), p. 117. 24 Here Comes the Trickster? Albus Dumbledore… example, the label of trickster can be easily given both to mischievous Loki from Nor- se mythology and, as Michael P. Carroll points, to Bugs Bunny13, an animated cartoon character from Looney Tunes series, despite huge and obvious differences between the two characters. Additionally, common features attributed to tricksters which may prove useful in the analysis of Dumbledore’s character include individualism, solitary habits14, witty brain and craftiness, rather than power or strength15 (which may be connected with secret knowledge and often leads to trickery, deceit and acting in disguise), playful attitude16, and – of course – being a breaker of rules17, someone who violates a taboo, and disturbs natural or social order. Referencing the works of Claude Levi-Strauss, Carroll further points out that the figure of trickster is always ambivalent, and in many other stories, the trickster appears as a type of culture-hero, specifically as a transformer who makes the world habitable for humans by ridding it of monsters or who provides those things (such as fire or various ways of capturing animals) that make human society possible. In short, to borrow a phrase often used by Levi-Strauss, the trickster is associated in these stories with the origin of culture18. Contradictory behavior and paradoxical nature of the trickster is also indicated by Christiano Grottanelli who states that “tricksters are breakers of rules”19, yet at the same time “they are often tragic in their own specific way”20. Thus, the trickster, who can be “guilty and heroic”21 at the same time, serves both as an antagonist and as a protagonist (depending on the purpose of the story), and performs good deeds along with acts of trickery. He is not only uneasy to define but also it seems impossi- ble to judge his moral status. In literature, this dualistic character has a major impact on the plot, often acting as a sort of catalyst to the storyline. The trickster, indirectly or 13 M. P. Carroll, op. cit., p. 305. 14 Ibidem, p. 307. In the study The Development of the Trickster in Children’s Narrative David M. Abrams and Brian Sutton-Smith compare tricksters from various cultures and describe this feature as “lack of close, caring relationships” which may be connected with “apparent disregard for the feelings of others”. D. M. Abrams, B. Sutton-Smith, The Development of the Trickster in Children’s Narrative, “The Journal of American Folklore” 1977, Vol. 90, No. 355 (Jan.–Mar.), p. 30. 15 Ch. Grottanelli, op. cit., p. 120. 16 Abrams and Sutton-Smith mention playful competitiveness, humor, and word plays of punning, vari- able behavior (breaking the rules as well as breaking routine habits and behaving in unconventional way) as common signs of the playfulness of the trickster. D. M. Abrams, B. Sutton-Smith, op. cit., pp. 33–34. 17 Ibidem. 18 M. P. Carroll, op. cit., p. 305. 19 Ch. Grotanelli, op. cit., p. 120. 20 Ibidem. 21 Ibidem, p. 135. 25 Anna Kuchta, Joanna Malita-Król in mysterious ways, steers, controls or fuels the actions of other characters. The power of trickster lays in “the power of breaking boundaries, of getting away with it”22, ex- plains Grottanelli, putting emphasis on the fact that the trickster does not follow the rules which apply to other characters from his narrative universe. It is worth adding that the issue of trickster’s presence in modern literature has al- ready been addressed by scholars. Many of them have done what we are doing in this article, that is tracked tricksters’ footsteps in various novels. We should mention here Robert C. Evans, who wrote an article on Mark Twain’s Huckleberry Finn (describing the novel as “brimming with tricks, trickery and tricksters”23) and Lewis Hyde who seeks for woman tricksters in American fiction24. How Professor Dumbledore is de- picted, and what trickster-like features he exhibits, will be shown in the next part of this article.